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Tag: copyediting

Following on from last week’s very popular guest post, Why Hire An Editor?, Robert Doran, editorial director at Kazoo Independent Publishing Services, is back today to tell us about structural editing. While copyediting and proofreading are absolute musts, I don’t think a self-publisher’s money is always put to best use by getting a structural edit for their book. So today Robert gives us some tips on, first of all, what a structural edit is, and secondly, what we can do ourselves to ensure our book is structurally sound. Welcome back, Robert!

Structurally Sound

Structural editing (sometimes called developmental editing or substantive editing) is the most complex and time-consuming stage of the editorial process. As a result it’s also the most expensive. Nevertheless a structural edit is something that most manuscripts can benefit greatly from. So what’s a self-publisher to do?

I know you’re expecting me to say, ‘Hire an editor!’ and if you can afford to do that, it’s probably the best option. But if paying for a structural edit means you won’t be able to afford a copy-edit, you need to consider other solutions. A copy-edit, to my mind, really isn’t optional, and it will always be the most effective way to spend your budget.

We’ll come back to how you can best handle structural editing in a bit, but first let’s look at what it actually is. Structural editing is looking at the big picture. It’s evaluating a manuscript as a whole and analysing how well its constituent parts contribute to the central message or narrative. Whereas the copy-editor takes a micro view, drilling into the detail, the structural editor goes macro and asks, ‘Does this work as a book?’

In fiction, the main areas that a structural editor will address are:

Plot: Does the plot make sense? Is it believable? Is it satisfying or does it leave the reader frustrated?

Themes: Are the themes effectively handled? Are there so many that the book lacks focus? Do they interfere with the plot or complement it?

Characterisation: Are your characters well developed and believable? Are they cast in a role that fits their personality? Do they sometimes behave out of character?

Point of view/voice: Is the voice consistent or is it sometimes confused? Is the voice authentic? Are you using too many or too few POVs?

Pace: Does the plot move forward at an appropriate pace? Should you cut that preface? Should the action happen sooner or should the tension build more slowly?

Dialogue: Do your characters sound real when they speak? Is your dialogue cluttered with adverbs and beats? Do you use clunky dialogue to move the plot forward?

Flow: Is the narrative interrupted by dead-ends and tangents? Is there so much back story that the main plot is dwarfed? Are there missing plot points that would give the narrative greater integrity?

In non-fiction, the principle is the same, but the specific issues are slightly different:

Thesis: Is your thesis relevant? Is it clearly defined or is it lost among marginal issues?

Exposition: Are your arguments clear and cogent? Are they well researched and properly supported? Do they have a clear relationship with your thesis?

Content: Are all the necessary topics sufficiently dealt with? Are the chapters weighted correctly? Is there superfluous content?

Organisation: Is the information organised logically? Are tables and illustrations used appropriately? How many levels of subheads do you need and how should they be arranged?

Tone: Is the tone appropriate for the audience? Do you need to eliminate jargon? Is the text accessible?

Pace: Are there passages that are bogged down in detail? Do you spend too long on detail irrelevant to the main thesis? Are there areas that need further exposition lest they be skipped over?

Although a structural editor may do a little copy-editing as they work through your manuscript, that is not what they are being paid to do. Their focus is much broader, and they will return your manuscript marked up with constructive comments and suggested rewrites that will in any case render the corrections pointless.

So, if you’re saving your money for a copy-edit, what do you do about structure?

Leave it alone. Put your manuscript in a drawer for a few weeks and forget about it. When you come back to it you’ll see it with fresh eyes and you’ll be in a much better position to read it critically. Then cut ruthlessly. Strip it out. Spike anything that you think you might use later or rewrite. You’re likely to find that your cuts have resulted in a tighter, more readable, and more enjoyable book.

Join a writing group. Creative-writing groups provide a great forum in which to have your work critiqued by people who are as passionate about writing as you are. Some opinions may be more informed than others, and you may have to sift through some personal prejudices before you get to the useful pointers, but there are bound to be people whose opinion you value. Keep an open mind and always thank people for their feedback, even if it’s unjustified criticism. If you’re seen to react badly, people with a real talent for spotting problems might choose to keep their comments to themselves. Critiquing sites and internet author forums can also be a great source of feedback and support, especially if you’re the sort of writer who doesn’t like to leave the house. Harper Collins set up Authoronomy.com as a novel way of finding new talent, but it’s also a great place to connect with other writers. YouWriteOn.com offers a similar service. You can read about Irish author Bob Burke’s experience with the site here.

Read books on writing. There are hundreds of books out there on writing. There are books on plot, dialogue, point of view, editing, and every other aspect of crafting a good book. The information is there for you to apply to your own manuscript if you’re prepared to spend fifty quid and a couple of weeks studying the texts. It might not be the same as having a fresh pair of eyes tackle your MS, but if you put a bit of distance between you and your work, you should be able to put your new skills to effective use.

Read the competition. It’s great to be original, but unless you’re Joyce or Kafka it’s best not to be too different. Your competition represents a good guide to what’s expected from you. You should aim to produce something better, extra or novel that adds to the canon, but don’t stray too far from the beaten track or your book won’t fit on any shelf. Read books published in your category in as critical a manner as possible. It helps if you’ve read a few books on writing first – you’ll find that issues to which you were previously oblivious suddenly come into sharp relief. Try to deconstruct the books and analyse how plot, characterisation, pace, etc., are handled, chapter by chapter. Many authors in your category will have faced similar dilemmas as you, and it helps to analyse their results.

It’s true that none of this entirely replaces a professional structural edit, but you can bring your manuscript a long way by investing just a few quid and some reading time. After you’ve done all this, it’s worth having a chat with your copy-editor to explain how you’ve edited. If you show them that you’ve put in the effort and, if you’re extra nice to them, they’ll be glad to watch out for any remaining structural issues. They may not deal with the problems in depth, but they’ll flag them, and, with all that reading under your belt, you’ll have no trouble sorting them out.

Robert Doran is Editorial Director at Kazoo Independent Publishing Services (www.kazoopublishing.com), a one-stop shop for indie authors who want to publish industry-standard books. He has nearly twenty years’ experience in bringing books to market and has worked as an editor, project manager, sales manager, and bookseller in Ireland and in the UK. He is a big fan of the Oxford comma. Follow him on Twitter @RobertEdits.

[Catherine’s note: Back in February I got to listen to the lovely Sarah Savitt talk about editing at Faber Academy, and she said, ‘The editor’s job is to ask the questions.’ She gave us some editorial notes to look at, and they were things that would be going through a reader’s head in a few month’s time if Sarah hadn’t raised them. Like: Why would this character forgive him? She’s no reason to, and But two pages back he said he didn’t agree with that! and I don’t understand why she doesn’t leave the car there?? A structural edit means that these questions get asked—and answered—in private (among other improvements!), before the book hits the virtual shelves, and not on Goodreads and Amazon customer reviews. Haven’t we all seen reviews where readers said something like, ‘I just didn’t get why he/she did that’? It’s like an English essay I wrote when I was in Sixth Class (age 12). The teacher, who usually championed my attempts, made me read out my mysterious character-being-chased-through-the-woods-at-night story (I was big into The X-Files then), before saying in front of everyone, ‘Catherine, you are the only one who knows what’s happening in this story.’ It’s a lesson I never forgot!)

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Let me count the ways I have tried to get the point across that you—yes, YOU—need an editor: I’ve said so in my book, I’ve made a video, I’ve told you why I desperately needed one… I’ve tried it every which way I can. It does seem like the message is sinking in somewhat, but I still meet self-publishers who think they’ll manage fine by themselves and send their book out into the world without it ever passing by the eyes of a professional editor. Which would be fine, if it wasn’t for the price-tag they’ve put on it. So today, my latest attempt is a guest post from Robert Doran, editorial director at Kazoo Independent Publishing Services, on why you should hire an editor. Read right through to the end for some vague hinting at something that’s, potentially, mildly exciting (at best) that starts here on this blog tomorrow. (Oooh, the mystery!)

Take it away, Robert…

‘Here we go,’ I hear you say, ‘an editor telling us why we can’t do without editors.’ I would say that, wouldn’t I? Well, yes, I would. But I’m not only advocating for the editor here. Your readers deserve to get what they pay for, and your book deserves to be given a chance to compete successfully when you send it out to represent you in a crowded market. Hiring an editor to copy-edit your work is the bare minimum you can do to allow that to happen. But time and again authors decide to skip this step and to publish an unedited manuscript, hoping for the best. Let’s look at why.

Lots of professionally edited books don’t sell. You’re right: having your book edited won’t guarantee you sales. There are thousands of professionally edited books published every year by traditional publishers that sell just a few hundred copies. A quick browse through any bookstore bargain basement will expose the truth that a book can be edited to within an inch of its life and still bomb. But that doesn’t change the fact that readers expect books to be edited in the same way that they expect cars to have wheels and beef burgers to have beef in them. It’s a basic requirement, not a selling point.

It’s not that readers spend much time thinking about the editorial process. They don’t, and that’s as it should be. The editing should be invisible, imperceptible. It’s only when it’s absent or shoddy that it becomes noticeable. And when readers notice it, they like to shout about it – just have a quick browse through a few of the gleeful ‘it was riddled with mistakes’ reviews that litter Amazon. When you open a book you have paid for and begin reading, you expect certain standards to be upheld, just as when you bite into a beef burger, you expect, well, beef. That’s what readers are used to, and they feel cheated when it clearly hasn’t been done.

But it’s expensive. Yes it is. You can reduce the amount of time an editor spends on your manuscript by sorting out as many issues as possible before you hire someone. This will help to keep the cost down. But editors are never going to be cheap, nor should they be. They offer a professional and often highly specialised service. Most editors have spent years studying and honing their skills, and they charge a fair fee based on their experience and expertise. When you get your marked-up manuscript back you’ll understand how much time, effort, and skill went into editing your work.

If you’re going to self-publish, you must, to some extent at least, act like a publisher. This means building the cost of editing, along with the other production costs, into the price of your book. Do you want a horse burger for 10¢ or a beef burger for €1? People do understand that higher standards cost more. Your book doesn’t have to be cheap, but it does have to represent value, and quality adds value to any product.

My friend read it, and she reads a lot.Great. Get as many friends as possible to read your book. Get your GP and your parish priest and Mary next door to read it. Every bit of feedback helps, and you should welcome it all and consider any suggestions your readers make. In particular, I think it’s worth joining a creative-writing group and having your work critiqued by your peers. But beware the nature of these relationships. People generally don’t want to criticise their friend’s work – they’d rather not offend. An editor will always take your feelings into consideration, but you are paying them to help you with your book and that will be the focus of your relationship. Even if your ego gets slightly bruised, your book will benefit, as will your readers.

Also, no matter how well versed your friends are in the rules of grammar, no matter how familiar they are with the vagaries of the English language, only an editor is likely to know and care enough about dangling modifiers, redundancies, hyphenation of compound adjectives, repetition, consistency of punctuation, presentation of numerals, elision, etc., to point them out and suggest appropriate corrections or amendments.

I can edit my own work. Certainly many authors can do a lot of structural editing without the help of an editor, and we’ll talk more about this in the next post. Structural editing can be fun, creative, and rewarding for the author; copy-editing, on the other hand, is essentially a technical task, more suited to those of us of a geekier persuasion. It is nigh on impossible to copy-edit your own work. You’re too close to it to pick up the tiny errors and the stuff that you don’t even know you don’t know. As an editor I have spent a lot of time studying obscure rules, semi-rules, and conventions-that-should-be-followed-unless-you-think-it’s-okay-to-break-them, yet I would never copy-edit my own work; I don’t know an editor in Christendom who would.

I want it to be all my own work. Naturally you want your work to sound like you wrote it. An editor is always conscious of the fact that it is your name that will be on the cover and that it is your work they are editing. They will intervene only as much as you ask them to. The editor’s aim is never to remove the author’s voice but to enhance it and allow it to shine by introducing structure and consistency, and by applying rules. It is when you get these things right that they become invisible to the reader, your message is amplified, and the quality of your writing is appreciated. Good times!

I always find mistakes in edited books. And you always will. Editors are not perfect, neither are proofreaders. The job they do is difficult, and, unfortunately, things will always slip through unless the manuscript is exceptionally clean in the first instance. It’s always worth noting the number of errors that were caught before going crazy over the couple that weren’t. And remember that a copy-editor’s job is much broader than catching typos – but more about that in a couple of weeks.

I’ll just download an editing program and use that. Go on, I dare you! These programs are so rubbish they make me want to cry. They might pick up a few typos but they consistently make odd suggestions on usage and, in my opinion, they serve only to confuse and delay.

Hiring an editor may or may not pay financial dividends: you will never know about the books you might not have sold or the bad reviews you didn’t receive. But the bottom line is that an editor will make your book better, no matter what point you’re starting from. Before you hire one, talk to a few and see who you’re most comfortable with. Ask them to prepare a short sample to give you an idea of what they can do for your manuscript and discuss the level of edit you feel would be appropriate. Ultimately, the author–editor relationship can be very rewarding for you, for the editor, and for your work.

Robert Doran is Editorial Director at Kazoo Independent Publishing Services (www.kazoopublishing.com), a one-stop shop for indie authors who want to publish industry-standard books. He has nearly twenty years’ experience in bringing books to market and has worked as an editor, project manager, sales manager, and bookseller in Ireland and in the UK. He is a big fan of the Oxford comma. Follow him on Twitter @RobertEdits.

The mysterious bit: tomorrow is the three-year anniversary of a very exciting day in my self-publishing adventures, and to mark the occasion I will be (a) showcasing something new and lovely, (b) writing a new post every day for a week and (c) giving YOU the chance the win stuff. Be back here tomorrow with a coffee in hand for the start of… superfluous drumroll please… MOUSETRAPPED MADNESS!